Toulouse-Lautrec and Montmartre RELATED EVENTS EXHIBITION THEMES Henri de Toulouse-Lautrec, Ambassadeurs: Aristide Bruant, 1892. The Art Institute of Chicago, Mr. and Mrs. Carter H. Harrison Collection. INTRODUCTION Henri de Toulouse-Lautrec (18641901), the quintessential chronicler of the Parisian district of Montmartre, created some of the most memorable images of the exciting new culture of late-19th-century Francea culture that was worlds apart from the artist’s aristocratic upbringing in provincial France. Born in the southern town of Albi, Lautrec was related to the counts of Toulouse, who had once ruled over the Languedoc region. Though he was economically privileged, Lautrec suffered numerous health ailmentslikely resulting from the intermarriage of his parents, who were cousins. Lautrec’s abnormally weak bones led to multiple leg fractures that stunted his growth and made walking a lifelong difficulty for him. Barred from many activities, he became a keen observer, and with his mother’s encouragement he began drawing and painting in his teenage years.

Toulouse-Lautrec and Montmartre journeys through the evolution of Lautrec’s short careerfrom experimental painter to innovative printmaker to contemplative illustratordemonstrating how his artwork captures the essence of fin-de-siècle Parisian nightlife. His prints, paintings, and drawings in a variety of media are juxtaposed with the work of his predecessors and contemporaries, highlighting not only the Bohemian culture that saturated the district of Montmartre, but also the manner in which older artists such as Edgar Degas influenced Lautrec’s choice of subject matter, framing, lighting, and perspective, and the way that the daring, often racy entertainment industry of Montmartre lured such artists as Vincent van Gogh and Pablo Picasso to the district. The installation presents certain themes of Lautrec’s work that display both the settings that fascinated him and his uncanny ability to provide psychological insight into the dancers, patrons, and Montmartre celebrities that he portrayed. In his representations of the cabarets, dance halls, café-concerts, celebrity culture, brothels, and circuses he revealed both the public and private sides of Montmartre culture.

back to top INTRODUCING MONTMARTRE Montmartre’s dance halls, cabarets, café-concerts, brothels, and circuses created a racy, uncensored atmosphere that attracted working-class residents of the district, as well as thrill-seeking bourgeois patrons from central Paris and beyond. Set upon a butte, or hill, and removed from the city center, Montmartre had an identity separate from that of central Paris, which was then governed by the conservative Third Republic. The neighborhood attracted artists of all types. Some came seeking fame and fortune, while others just wished to revel in the Bohemian atmosphere. For these artists, the vibrant culture of Montmartre, with its unbridled energy, tawdry behavior, garish colors, and provocative celebrities, was both a way to live and a subject to depict. Lautrec, who labeled Montmartre as “outside the law,” immersed himself in this decadent culture, painting and drawing by day and dwelling in the cafés and cabarets by night. back to top DANCE HALLS In the late 1880s and early 1890s, Montmartre’s dance halls surged in popularity.

Some of the most famous venues, including the Moulin de la Galette and the Moulin Rouge , offered a wide variety of entertainment in a carnival-like atmosphere that included acrobats, puppet shows, and animal acts. It was the singers and dancers, however, who were the greatest attractions. Large crowds came to see celebrities such as La Goulue (“the glutton”) perform new dances such as the chahuta racy, eroticized version of the cancan. Prints such as The Englishman at the Moulin Rouge showcase Lautrec’s libertine stance on Montmartre’s decadent nightlife. The paintings that Lautrec made of the dance halls of Montmartre are among his most complex works. They constitute the majority of his large, multifigure canvasesworks that challenged his compositional skill. At the Moulin Rouge is an unsettling painting with severe lighting, unconventional perspective, and an ambiguous narrative. The performers La Goulue and Jane Avril, as well as Lautrec himself, can be found in this painting.

With its skewed perspective, lurid colors, and perplexing social dynamic, At the Moulin Rouge is both alienating and arrestingan embodiment of the spirit of Montmartre. back to top THE CHAT NOIR AND THE CABARETS In 1881 the artist-cum-entrepreneur Rodolphe Salis opened a new cabaret called the Chat Noir (“black cat”) at the foot of Montmartre’s hill. The name called to mind Edgar Allen Poe’s perverse and haunting tale by the same title, French folktales, and the poetry of Charles Baudelaire. The black cata nocturnal creature that is mysterious, seductive, playful, and independentbecame a symbol not only for the Chat Noir itself, but for all of Montmartre. The Chat Noir became a gathering spot for avant-garde artists, poets, musicians, and writers, who used the cabaret as an artistic laboratory to recite poems, sing songs, and exhibit paintings. Publicity posters, made possible by the lithographic technique, were an important innovation of the artists of Montmartre.

Lithography , a printing process in which images are drawn on a large stone, allowed Lautrec to utilize a skillful integration of text and image. Théophile-Alexandre Steinlen’s poster Tournée du Chat Noir , featuring a black cat sitting upright with a halo surrounding his head, is an iconographic image of Montmartre. Lautrec’s first foray into printmaking was a resounding success. His print Moulin Rouge: La Goulue fueled the popularity of La Goulue and made Lautrec an overnight sensation in Montmartre. back to top THE CAFÉ-CONCERTS AND CELEBRITY CULTURE Of all the pleasures of Paris, it was the café-concert and its stars that cast the greatest spell on Lautrec. Less formal and less expensive than traditional theater, these establishments provided entertainment as patrons milled about socializing, smoking, and drinking. Famous Friends Throughout his life, Lautrec developed what he called furias, or intense obsessions with certain performers who would enthrall him for a single season or several years. Lautrec would return, night after night, recording the gestures, facial expressions, and postures that made each performer unique.

Lautrec developed a short yet intense furia for the dancer Loïe Fuller , whose swirling muslin dress, highlighted by the recently invented colored electric lights that reflected off a glass floor, made her sinuous form resemble an ethereal flower or flame. Lautrec admired Fuller from afar and made a series of experimental lithographs to portray her captivating performance. These prints convey the ephemeral mood of the shifting light, color, and music in a series of almost cinematic images. Lautrec also created publicity posters for several other well-known Montmartre celebrities, including Jane Avril, May Belfort, Aristide Bruant, Yvette Guibert, and May Milton . The monumental painting Marcelle Lender Dancing the Bolero in “Chilpéric” showcases the vivid movement of Lender’s dance as well as Lautrec’s virtuosity with color. Although Loïe Fuller and Marcelle Lender were not particularly close to Lautrec, other performers were very good friends with the artist. Aristide Bruant performed at the Chat Noir and later at his own cabaret, Le Mirliton.

In the poster Ambassadeurs: Aristide Bruant , Lautrec distilled Bruant’s personality into a few recognizable features including his signature hat, red scarf, and black overcoat, as well as his imposing posture and defiant gaze. In his portraits and prints of Jane Avril, Lautrec depicted the dancer not only in her guise as a popular performer , but also as an introspective, private woman . Lautrec’s celebrity prints display not only his shrewd insight into the psychological perspective of his subjects, but also the public and private personae of celebrities. back to top THE MAISONS CLOSES The maisons closes ("closed houses")the French euphemism for brothelswere licensed establishments where authorities could discretely regulate prostitution. Police periodically monitored the premises while prostitutes, who officially registered with one of the maisons closes, were subject to routine medical inspections. Lautrec, a social outsider, seemed to find comfort in the sexual subculture, even boasting to friends that he had lived for a time in a brothel (an unproven claim).

Between the mid-1880s and mid-1890s, Lautrec produced some 50 paintings on the theme of prostitution, none of which was publicly exhibited during his lifetime. Only Elles , his 1896 album of 11 color lithographs that depicts the daily routines of prostitutes, was published. Lautrec’s representations of the world of prostitution evince a real sympathy for the women; however, the works are also dominated by a matter-of-fact mentality. The women are seen as both sensual and alluring and as surviving under trying social circumstances. The prostitutes are shown awaiting clients, submitting to medical exams, lying on beds, and embracing. In the Salon: The Sofa illustrates a group of prostitutes in a maison close seated upon a red divan, awaiting their clients. With resigned faces and tired eyes, modestly cut frocks, and reserved body language, these women engage with neither the viewer nor one another, embodying a world of alienation. Alternately compassionate and voyeuristic, Lautrec’s brothel scenes are some of his most complex works.

back to top THE CIRCUS AND LATE WORK One of the great spectacles of the 19th century, the circus combined extraordinary gymnastic and acrobatic feats, animals trained to obey and amuse, crazy clowns, daring slapstick comedy, and controlled chaos. As an important part of the entertainment industry, the circus relied on tradition and expectation as well as innovation and novelty, as did the dance halls and cabarets. Lautrec’s interest in the circus was a logical extension of his childhood paintings and drawings of equestrian scenes. One of his earliest mature works, Equestrienne (At the Circus Fernando) , features the trained horses that were a major circus attraction of the period. This composition is dominated by the interplay between the authoritative figure of the ringmaster Fernando, who is smartly clad in tails and clasping a whip, and a bareback rider atop a large stallion. The painting, admired for its youthful confidence and brazen sexual overtones, was purchased by the Moulin Rouge’s owner to hang in the famous dance hall. In 1899 Lautrec was institutionalized, owing to the advanced stages of alcoholism, which had plagued him much of his life.

Determined to win his release, Lautrec made a series of crayon circus drawings from memory to prove the soundness of his mind. The fantastic and nightmarish quality of these drawings shows how the circus served as an ideal metaphor for the disordered Lautrec to articulate pictorially his inner struggles and traumas. Indeed, these poignant images secured his release from the clinic. Upon returning to Montmartre, Lautrec resumed a life of artistic activity combined with heavy drinking and late nights. In the years that followed, Lautrec’s health deteriorated as his alcoholism progressed; he died in the arms of his mother on September 9, 1901. Although Lautrec lived only to the age of 36, he left behind a brilliant visual record of the spirit of Montmartre.

1000+ images about Artist: Toulouse-Lautrec, French Painter and Lithographer on Pinterest | Portrait, Art museum and Hunters Pinterest • The world’s catalog of ideas Artist: Toulouse-Lautrec, French Painter and Lithographer Henri Marie Raymond de Toulouse Lautrec French Painter and Lithographer 1864-1901 22 Pins1.55k Followers Jane Avril or the poet Aristide Bruant | Japanese Art, Tokyo News and Japan News Japanese Art, Tokyo News and Japan News Posts tagged ‘Jane Avril or the poet Aristide Bruant’ | Henri de Toulouse-Lautrec and Japanese ukiyo-e Lee Jay Walker Modern Tokyo Times Henri de Toulouse-Lautrec (1864-1901) adored Japanese ukiyo-e and many famous international artists also fell in love with this art form. Toulouse-Lautrec and his lifestyle would certainly have fit in well with the environment of Yoshiwara in Tokyo, which is famous for prostitution. Indeed, several ukiyo-e artists depicted scenes in this famous district including Hiroshige and Utamaro.

Therefore, Toulouse-Lautrec would have felt like being “home from home” because Yoshiwara and Montmartre shared many common features in the past. Rene Princeteau gave art lessons to Toulouse-Lautrec when he was young and the background of his family is one of wealth. Indeed, he was born into an aristocratic family but tragedy impinged on Toulouse-Lautrec when he was a teenager because he broke both legs. The severity of the accidents meant that his legs stopped growing and this created “many internal demons.” This is based on the fact that his body continued to develop like normal therefore throughout his short life he could never fully come to terms with this situation. The artistic turning point for Toulouse-Lautrec came in 1882 because he went to Paris in order to study conventional art. He soon met important artists like Vincent Van Gogh and the art of Edgar Degas inspired him greatly in this period. Therefore, the lore of Impressionist art enticed him greatly and because of this he gave up his studies in conventional art. Toulouse-Lautrec who was born in the south of France now found himself in Montmartre in Paris.

The environment was completely different because this area had a buzzing nightlife across the whole spectrum. This applies to cabarets, restaurants, dancing clubs with sexual connotations, cafes, brothels, and other areas of life. The trappings of this new environment enticed Toulouse-Lautrec because he soon joined the bohemian community. During the evening period he would drink and natter with friends. However, despite enjoying himself Toulouse-Lautrec would also draw sketches and then work on altering these by turning them into lithographs and paintings. This became most rewarding for Toulouse-Lautrec because the environment created passion, innovation, and ideas, which were then expressed through his artwork. Dieter Wanczura, , comments that “The lithographs of Lautrec show the famous personalities of the French Belle Epoque. Lautrec knew them all personally- singers and dancers like Yvette Guilbert, May Belfort, Jane Avril or the poet Aristide Bruant. Many of these lithographs were commissioned by these artists for posters or theater billboards or as illustrations for magazines.” Dieter Wanczura further comments that “The impressionists saw Ukiyo-e art (Japanese woodblock prints) and were impressed.

And like so many other artists of the late nineteenth century, Lautrec had started collecting Japanese art . At that time, everything Japanese was en vogue – very fashionable.” “Japanese printmaking had a very pervasive influence on his style. For Toulouse Lautrec movement and forms were important. His compositions, unusual perspectives and the use of large areas of flat color are undoubtedly inspired by Japanese woodblock prints .” Western art impacted on Japanese art in the same period and likewise the Paris scene was awash with ukiyo-e prints. Therefore, new ideas were going in both directions but cultural differences meant that aspects of the cultural settings were very different. Also, individual artists, irrespective of nationality, had unique aspects which applied to their respective thought patterns and upbringings. Artists like Van Gogh, Claude Monet, Paul Gauguin, Toulouse-Lautrec, Edgar Degas, and many others, were influenced by Japonisme (Japonism). However, Japonisme was based on the eye and not the concept or rich traditions which had evolved in Japan. Also, ukiyo-e is extremely broad when it comes to subjects that were covered and individual artists had their own unique styles and ways.

Yet despite this, Japonisme certainly inspired many artists and for Toulouse-Lautrec ukiyo-e was like Montmartre. This applies to opening-up a new world of art and thought patterns, which would enhance his creativity and style. If you visit that Van Gogh ( ) Gallery website it is stated that “Japanese art, especially Japanese woodcuts, became a great influence on Van Gogh. When Van Gogh moved to Paris in 1886 he was introduced to impressionism and also explored Japonism. Van Gogh admired the bold designs, intense colors, and flat areas of pure color and he also appreciated the elegant and simple lines.” It is abundantly clear that Toulouse-Lautrec would fully understand the words of Van Gogh because he was also transformed in Paris. In another article I wrote about Japanese art I comment that “Ukiyo-e and western art went in both directions but the initial contact period will have been based on a mirror which can’t fully show the complexion of the individual because of all the steam. Irrespective of this, it is clear that both traditions led to new creativity.” Sadly, for Toulouse-Lautrec, the lifestyle that altered his artistic path in Paris also became self destructive.

Therefore, alcohol abuse and other negative areas all climaxed in his early death at the age of 36. In many ways Toulouse-Lautrec always had “two worlds which were pulling in opposite directions.” The first world applies to coming from a wealthy family but having poor health for the majority of his life. While the second world applies to being extremely creative because of the environment of Paris but the same environment led to his early death based on alcohol abuse and other factors. Irrespective of everything, Toulouse-Lautrec leaves a lasting legacy because of the richness of his art and he also opens up the world of Montmartre. Henri de Toulouse-Lautrec > Biography > Short Biography Aristide Bruant opens the "Le Mirliton" cabaret. Lautrec frequents Montmartre's cabarets. 1891 Henri Toulouse-Lautrec takes part in an exhibition at Le Barc de Bouteville's gallery, along with Anquetin, Emile Bernard, Pierre Bonnard and Maurice Denis. He signs the first poster that makes him famous: Moulin Rouge (La Goulue). 1892 Lautrec makes a poster for his friend Jane Avril, a French cancan dancer.

She is also depicted in his works "Le Divan Japonais" and "Jane Avril du Jardin de Paris" (1893), and a last poster "Jane Avril" (1899). Lautrec creates his first poster from the Bruant series, Aristide Bruant aux Ambassadeurs. 1893 He becomes part of the "Revue Blanche" (White Review) social circle and gets friendly with the Natanson brothers, Tristan Bernard and Romain Coolus. He regularly visits brothels and develops a passion for the theatre. 1895 La Goulue asks him to make the scenery for her fairground stall. He goes to London with his friend Joyant where he meets Oscar Wilde and Whistler. 1896 He moves to 30, rue Fontaine and sails to Lisbon with his friend Joyant ("La passagère du 54"). He develops a passion for cycling and follows Tristan Bernard's performance in the velodromes. 1897 New studio at 15, rue Frochot.

Publication of "Les Elles" album, the result of his work in the brothels, whose frontispiece is used as a poster. 1898 Exhibition at the Goupil Gallery in London. Lautrec publishes his second album, dedicated to Yvette Guilbert. 1899 Lautrec is put into a mental hospital for three months. 1901 He dies in Malromé at his mother's side. His body is buried in Verdelais. biography Henri de Toulouse-Lautrec A French Painter, Printmaker, Draughtsman and Illustrator - YouTube Henri de Toulouse-Lautrec A French Painter, Printmaker, Draughtsman and Illustrator Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Apr 21, 2013 Henri de Toulouse-Lautrec A French Painter, Printmaker, Draughtsman and Illustrator Authentic Hand Painted Canvas Art (Famous Masterpieces) Free Shipping and Free Returns....

Henri Marie Raymond de Toulouse-Lautrec-Monfa or simply Henri de Toulouse-Lautrec (24 November 1864 -- 9 September 1901) was a French painter, printmaker, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 1800s yielded a collection of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. Toulouse-Lautrec, along with Cézanne, Van Gogh and Gauguin, are among the most well-known painters of the Post-Impressionist period. In a 2005 auction at Christie's auction house a new record was set when La blanchisseuse, an early painting of a young laundress, sold for $22.4 million U.S. Throughout his career, which spanned less than 20 years, Toulouse-Lautrec created 737 canvases, 275 watercolours, 363 prints and posters, 5,084 drawings, some ceramic and stained glass work, and an unknown number of lost works.

His debt to the Impressionists, in particular the more figurative painters Manet and Degas, is apparent. His style was influenced by the classical Japanese woodprints which became popular in art circles in Paris. In his works can be seen parallels to Manet's detached barmaid at A Bar at the Folies-Bergère and the behind-the-scenes ballet dancers of Degas. He excelled at capturing people in their working environment, with the colour and the movement of the gaudy night-life present but the glamour stripped away. He was masterly at capturing crowd scenes in which the figures are highly individualized. At the time that they were painted, the individual figures in his larger paintings could be identified by silhouette alone, and the names of many of these characters have been recorded. His treatment of his subject matter, whether as portraits, scenes of Parisian night-life, or intimate studies, has been described as both sympathetic and dispassionate. Toulouse-Lautrec's skilled depiction of people relied on his painterly style which is highly linear and gives great emphasis to contour. He often applied the paint in long, thin brushstrokes which would often leave much of the board on which they are painted showing through.

Many of his works may best be described as drawings in coloured paint. Paintings by Henri de Toulouse-Lautrec Vincent van Gogh (1887) at the Van Gogh Museum, Amsterdam At the Circus Fernando (1888) The Laundress {1889} La Goulue arriving at the Moulin Rouge (1892) At the Moulin Rouge (1892) At the Moulin Rouge: Two Women Waltzing (1892) Quadrille at the Moulin Rouge (1892) Jane Avril (1892) Toulouse Lautrec Digital Art Gallery & Private Collection You are here: Home / Prints / Toulouse Lautrec Toulouse Lautrec Digital Art Gallery & PayPal encourages members to become Verified to increase trust and safety in our community. Because financial institutions screen their account holders, PayPal"s Verification process increases security when you pay parties you do not know. Frequently Asked Questions... In the Moulin Rouge movie, is Toulouse a nod to actual painter Henri de Toulouse Lautrec? I kept wondering if the similarities between the character and the painter were intentional. Answer: Yes. Several images (i.e.

clowns, men in tuxedos with tutus) are taken from Toulouse-Lautrec's paintings of the Moulin Rouge and nearby clubs. Some of Lautrec's lines in the scene after Satine rejects Christian are taken from his letters. Frenchman Henri de Toulousse-Lautrec is played by Hispanic (Colombian) actor John Leguizamo. In the 1952 film Moulin Rouge (1952), he was played by another Hispanic actor, Puerto Rican born José Ferrer. Cast member David Wenham shares the role of another Frenchman with Ferrer: Cyrano de Bergerac.

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1893 lithograph by toulouse lautrec une spectatrice $1,600.00 toulouse lautrec au moulin rouge union franco russo $18,250.00 henri de toulouse lautrec french 1864 1901 lot 207 $750.00 toulouse lautrec after voltige rare museum framed 21x18 ltd lot 1998053 $100.00 toulouse lautrec after chevaux en liberte rare museum frame lot 1997872 $100.00 toulouse lautrec after clownesse rare museum framed 18x21 l lot 1997761 $100.00 toulouse lautrec vintage french art canvas print queen of the night 24x32 $46.84 rare original oil painting on canvas signed henri de toulouse lautrec w coa $295.00 toulouse lautrec divan japonais 1893 xl canvas print 24x 36 $43.91 toulouse lautrec moulin

 rouge dance 1890 xl canvas print 24x 36 $43.91 toulouse lautrec moulin rouge 1891 xl canvas print 24x 36 size $43.91 toulouse lautrec divan japonais 1893 canvas art print 18x 24 $24.88 toulouse lautrec ball at the moulin 1889 xl canvas print 24x 36 size $43.91 toulouse lautrec vintage french art canvas print children sleeping 24x32 $46.84 toulouse lautrec vintage french art canvas print jane avril poster 24x32 $46.84 toulouse lautrec dog car 1880 xl canvas print 24x 36 size $43.91 Henri de Toulouse-Lautrec | artnet | Page 3 Henri de Toulouse-Lautrec × Biography Henri de Toulouse-Lautrec was a French artist best known for his prints and posters illustrated in the Art Nouveau style of flat, organic forms.

His color lithographs of advertisements for dance halls, such as the famed Moulin Rouge, brought him great acclaim and popularity, but de Toulouse-Lautrec was also an accomplished Post-Impressionist painter. Along with Paul Gauguin and Vincent van Gogh , the artist was linked to avant-garde movements of the early 20th century. An admirer of Edgar Degas , de Toulouse-Lautrec painted in a naturalist style before turning toward brighter graphic work. Born Henri Marie Raymond de Toulouse-Lautrec-Monfa November 24, 1864 in Albi, France to an aristocratic family, he defied convention by pursuing art and studying in Paris with Léon Bonnat and Fernand Cormon . Suffering from health problems and congenital disorder that left his legs atrophied, the decadent bohemian lifestyle took its toll on de Toulouse-Lautrec. He died September 9, 1901 in Saint-André-du-Bois, France at the age of 36. Today, the Musée Toulouse-Lautrec in Albi houses over 1,000 of his works.

Related Categories Toulouse-Lautrec and Jane Avril, Courtauld Gallery, London, review - Telegraph Toulouse-Lautrec and Jane Avril, Courtauld Gallery, London, review Lautrec’s sad-eyed, lonely muse Jane Avril is the subject of this exhibition of the painter's artworks. At the Moulin Rouge by Toulouse-Lautrec By Richard Dorment 5:43PM BST 20 Jun 2011 Fin-de-siecle Paris belongs as surely to Henri de Toulouse-Lautrec as Victorian London does to Charles Dickens or Broadway to Damon Runyon. His art gives us a ringside seat at the dance halls and circuses with their nightly parade of dancers, singers, prostitutes, transvestites and clowns. Lautrec is the master of ceremonies, introducing performers like the grotesque May Belford, a fat Irish lesbian who dressed in a little girl’s pinafore to lisp filthy nursery rhymes, or the raddled chanteuse Yvette Guilbert, whom he shows on stage in elbow-length black gloves, swooping down to the footlights for yet another curtain call.

Or what about the voluptuous dancer Louise Weber, known as La Goulue or The Greedy One (on account of her insatiable appetite for sex) kicking up her heels and insolently flashing her frilly knickers, and of course Aristide Bruant, a bulldog of a man who sang rough working-class ballads in his long black cape, red scarf and walking stick? When we look at a work by Edgar Degas we feel we are spying on dancers or bathers who do not know we are there. Lautrec, in contrast, conjures up a roll-call of freaks, every one a certified exhibitionist. Far from resenting our voyeuristic interest, they’d be devastated if we turned away. In fact, many of these entertainers (or the owners of the cafes and dance halls who employed them) paid Lautrec to immortalise them in the glorious posters that were then plastered up and down the Boulevard de Clichy. Art historians once saw the stunted scion of provincial aristocracy as an outcast from society. In recent years, however, we’ve come to understand that he was a hard-working professional who operated successfully from his privileged perch within the advertising and entertainment industries.

Related Articles The Vorticists: key figures 13 Jun 2011 Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge at the Courtauld Gallery looks at the relationship between the stick-thin dancer and the pint-sized genius. The daughter of a prostitute, Jeanne Beaudon was born in 1868. At 13, she spent 18 months in the Pitié-Salpêtrière hospital, where she was treated for Sydenham’s chorea or St Vitus’s dance, a disease in which fluid movement of the limbs is interspersed with sporadic jerks. There she discovered the highly idiosyncratic talent that propelled her to the Moulin Rouge and appealed especially to critics, poets and artists. As we see in Lautrec’s famous 1893 lithograph, in which she performs the can-can in a Kate Greenaway bonnet before a tumescent bassoon, Jane danced without a corset and with a blank, joyless expression on her face. When dancing alone, she appeared to be in a trance, and in the chorus line she was the only dancer who wasn’t in step.

Did she pay Lautrec to make these posters? Somehow, I doubt it. In too many of his drawings and watercolours he depicts a sad and lonely human being, not a glamorous star. Though ostensibly colluding with the fiction of Gay Paree, in his portraits of Jane Lautrec exposes the cold, mirthless reality of a dancer’s life. In almost every image of her, Lautrec’s usual satire is replaced with affection and admiration for her talent, humour and moral courage. Contrast this with the comic cruelty of his drawings of Yvette Guilbert or the coarseness he captures in pictures of May Milton or La Goulue. In truth, Jane was a highly intelligent woman with a nervous disposition. When he shows her dressed in street clothes leaving the Moulin Rouge, she was only 24 years old and yet her white pallor, pinched face, and pursed red lips are those of a woman twice her age. No other performer is accorded the dignity Lautrec bestows on Jane, whose long, changeable face could be beautiful in repose, and who dressed exquisitely.

In his famous poster for the night club Le Divan Japonisme, he shows her in profile, an elegant black spider smiling secretly to herself as a gormless punter, drawn like a moth to the plume of her bonnet, is about to be caught in her web. The poster cannot have been commissioned by Jane, since she did not perform at this particular venue, and the singer on stage is her rival Guilbert – who is shown only from the neck down. It’s a good joke, especially if you thought, as many of Lautrec’s contemporaries did, that Guilbert was a sacred monster. With important loans from the Art Institute of Chicago and the Wadsworth Athenaeum supplemented with photographs of Jane and theatrical memorabilia, this is terrific little show of the sort that the Courtauld does with panache. It also has good catalogue, with an introductory essay by curator Nancy Ireson that I couldn’t put down.

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Question: Aristide Bruant and Jane Avril feature in the art of which French painter?
Answer: HENRI DE TOULOUSE-LAUTREC